Hu Zhipeng 胡志鵬
1982 in Dazhou, Provinz Sichuan geboren
2007 Abschluss des Studiums an der Chengdu
Kunstakademie mit Schwerpunkt Ölmalerei
Hu Zhipeng lebt und arbeitet in Chengdu, China
2012: Hu Zhipeng Solo Exhibition, Shanghai
2013: Nature of Things – 2103 Invitational Exhibition of Contemporary Art, Chao Art Center, Chengdu.
Site-Specific: the First Exhibition of Chengdu 80 Salon
Chaos and Myths: 6 Chinese Young Artists Joint Exhibition，HdA Kunstsalon Berlin
|2012||Vier +, HdA Kunstsalon Berlin, Deutschland
Distorted reality, O.Gallery, Shanghai, China
|2011||Außergewöhnlich, Chengdu frühlings Salon, Chengdu, China
Frisches Obst, Chengdu Kunstinstitut, Chengdu, China
|2009||Erste Ausstellung des Y-Art Team, Nord-Chengdu, China
Shanghai Contemporary Artfair, Shanghai, China
Visionaire, FELLINI Gallery Berlin Shanghai, Shanghai, China
Die Gefallenen, FELLINI Gallery Shanghai
Die Erbsünde, Gruppenausstellung, FELLINI Gallery Shanghai
Y-Art Team-Ausstellung, Nord-Chengdu, China
|2008||4. peasant street Contemporary Art Exhibition, Chengdu, China|
|2007||Dreißig, Heduoling Nominierung, Zero Factory Art Center, Beijing, China|
|2006||Peasant street Contemporary Art Exhibition, Chengdu, China
Neue Impulse für China, Biennale für zeitgenössische Kunst Shanghai, Art Museum
Yuangong, Shanghai, China, Beijing Internationale
Hu Zhipengs Serie: “Fest der Vielfraße”
Hu Zhipeng’s Painting World: A Variant Realm
By Qu Bo
In the Chinese language there is an idiom that goes: “Particles of sand accumulated will form a towering pile”, which
means fine sands accumulated will become a pagoda. It’s from the Lotus Sutra – Convenience Goods: “In the wilderness,
accumulating earth into a Buddhist temple, it’s a children’s play the same way as accumulating sands into a Buddhist pagoda.”
Borrowing from this idiom, Hu Zhipeng made a slight change by naming his recent works as “Accumulating Sands into
Mountains” series. “Borrow” and “Change” are rightly one of the clues that interpret this batch of Hu Zhipeng’s works.
Hu Zhipeng has been strongly interested in the images of classical paintings, on which he based his paintings while absorbing
images today about nature, society, history, and daily life that constitute a huge database of images through which he shuttles
freely to borrow and use the images at random. In his “borrowing”, however, there is something cunning or something wise,
that is to break the image into pieces, rub it and restructure it so that a varied image comes into being, which is different from
the previous one and eventually makes up a variant realm varied from the normal state just due to the strangeness of the image.
Hu Zhipeng’s works are basically structured on Chinese traditional landscape painting, particularly that of the Five Dynasties (907~960)
and the Northern Song Dynasty (960~1127). The Chinese traditional landscape painting, as soon as it was established, climbed up
to an admirable height swiftly. The Five Dynasties and the Northern Song Dynasty were the early periods in which the Chinese
traditional landscape painting developed as well as periods in which it quickly became mature as famous painters emerged with
excellent works one after another, which was so called a “golden era” in the history of landscape painting by art historians. The
reason why it was called a “golden era” is directly attributable to the brilliant achievements made in the periods, but such a saying
can be taken as a metaphor: artists at that time, thanks to their cosmic consciousness, could “travel anywhere at the speed of light
without any obstacles”. The artists, in their intercourse with the heaven and earth, were like human beings of the First Age created
and pampered by deities in the Greek mythology; their heart tour and broad vision brought about grand composition in the landscape
painting and cast an inherent solemn sense to the works. Therefore, saying Hu Zhipeng’s works are based on the landscape painting
of the Five Dynasties and the Northern Song Dynasty refers to the pattern of composition so borrowed and that they are interlinked in
inherent spiritual temperament as well.
As far as composition of the “Accumulating Sands into Mountains” is concerned, Hu Zhiping didn’t take the perspective of western
landscape painting but, from a visual angle of the landscape painting of the Five Dynasties and the Northern Song Dynasty, captured
freely and overlapped the layers to form into a grand composition consisting of rolling mountains and meandering rivers, in which
due to the use of large numbers of globes or similar globes the shapes in the frame appear fully round as if filled with full vigor and
vitality. The grand composition plus the inflated shapes cast the frame a solemn sense of ceremoniousness. Meanwhile, Hu Zhipeng
didn’t forget to borrow the delicate and dense wrinkle method from the landscape painting of the Five Dynasties and the Northern Song
Dynasty. With a careful and precise attitude like the painters of that time, he mixed all kinds of bright colors to “wrinkle” the texture of
the mountains little by little in a way “to paint a river in ten days while a rock in five days”. From this angle, Hu Zhipeng successfully
borrowed from the landscape painting of the Five Dynasties and the Northern Song Dynasty and connected a channel to the classical art.
Upon a careful study of Hu Zhipeng’s works, however, we can find more “changes” from his “borrowing”. In terms of the “wrinkle method”
to the landscape paintings of China’s ancient times, its significance is in highlighting the differences between the textures of mountain rocks
in different regions as they are divided into north and south, so are paintings. But to Hu Zhipeng, the “wrinkle method” in his painting is
actually a means to perceive and express the world through touching; he used a repeated rubbing method to describe the mountain rocks
in order to highlight their stately and rich details. At the same time, he used gentle brushwork to depict clouds, mists and water. Therefore
this batch of his works can be concluded as both visual and sensational. Hu Zhipeng used a special vocabulary to convey his unique
understanding of the landscaped world.
Moreover, in the landscape painting there are not figures in the scenery or houses and towers that imply the existence of figures as commonly
found in the landscape paintings of the Five Dynasties and the Northern Song Dynasty, but only deserted wild mountains. Figures dissociated
imply that it’s a primordial world or the age of earth and the extinct of heaven, but in the wild mountains it seems not true that living things
don’t exist because the viewer can catch sight of images like eyes or mouths drifting vaguely amidst rivers, mists and clouds. As to what the
living things are, Hu Zhipeng didn’t give an affirmative or negative implication. Perhaps they are illusory mountain spirits or water sprites
partly hidden and partly visible like in fairy tales. Therefore we can state that in his works Hu Zhipeng “borrowed” the scenery from the landscape
paintings of the Five Dynasties and the Northern Song Dynasty on one hand, and on the other hand created scenery because of “variations”,
whereby common scenery becomes varied scenery due to “variations”.
Before making the “Accumulating Sands into Mountains” series, Hu Zhipeng produced “Gourmand Grand Banquet” series. In the so-called
“Grand Banquet” there are delicate tableware, fruits and vegetables, foods, still-life objects, and insects like in the small school paintings of
the 17th century Netherlands, but when all the stuff are combined, a grand banquet begins to fester because of the over-ripe fruits, the foods
also deteriorate as time elapses, and a sweetish fishy smell is pervasive in the air. Figures in the paintings are mostly strangely dressed, freakish
or disabled who appear in bust with numb expressions, and bleb-like decayed marks in the skin. All those make people think of the “flowers of
evil” under the pen of Charles Baudelaire of the 19th century. Therefore Hu Zhipeng “borrowed” quite a lot of image resources that “varied” into
his own world as a result of fusion with his ideas about the history and the reality. The world, due to the differences from the defamiliarized face
of the day-to-day world, can be equally called a varied realm.
As a matter of fact, in the “Accumulating Sands into Mountains” and the “Gourmand Grand Banquet” series and the creation of his huge single
frame paintings in his early years, the eventual effects with surrealistic hue combined by individual shapes in an absurd manner are indicative
of Hu Zhipeng’s points of focus. On one hand, he dabbles at various existing genres of art extensively, transplanting and even copying their
language while trying to accumulate the prevailing image resources purposely in order to expand his painting vocabulary; on the other hand,
either in his early years or at present, what he really cares for is to create a world far away from the daily life. Although it can be said that this
world is a projection of the real world, it is an exaggerated, distorted, and deformed world in such a way that sometimes it’s hardly possible to
find a model in the real world. It can be concluded that creation of a varied realm is the common characteristics throughout Hu Zhipeng’s works.
Immanuel Kant once said: “a long era is lofty. If it belongs to the bygone times, then it is noble; if it unveils a future at which it’s hard to take
a glimpse, then it has something awesome”. To that extent, the “Accumulating Sands into Mountains” series have unveiled a point-in-time
far away from the present and have a sense of loftiness. Likewise, the “Gourmand Grand Banquet” series and Hu Zhipeng’s other single frame
paintings in his early years have a sense of loftiness because a varied realm far from the real world is created. Although not noble or magnificent,
they often give the viewer a sense of awe.
 Li Lincan: Manuscript of China’s Fine Arts [M]. Kunming: Yunnan People’s Publishing House, 2002: 86-109.
 Immanuel Kant. On Sense of Beauty and Sense of Loftiness [M]. Trans. He Zhaowu, Beijing: the Commercial Press, 2001: 5.
(Qu Bo: Doctor of Art History, Director of the Institute of Sichuan Art, Xihua University)
Über die Serie „Fest der Vielfraße“
Der gesellschaftskritische Künstler Hu Zhipeng hinterfragt in seiner Serie „Fest der Vielfraße“ die Beziehung der Konsumgesellschaft zu Besitztümern und des Besitzen-Wollens. Er sieht dieses Bestreben nicht als etwas positives oder schönes, sondern als etwas abstoßendes und hässliches.
Das Essen, als Symbol des Besitzes und vor allem des Überflusses versinnbildlicht die grenzenlose Gier des Menschen. Beeinflusst von Werbung, finden sich Menschen in Geschäften wieder und kaufen ohne Verstand Dinge für deren Verwendung sie keinen Zweck haben. Die Gier frisst sich durch die Menschen und zerstört unbemerkt Leben. Die fleckige, beinah transparent scheinende Haut der nackten Körper macht auf den Betrachter zunächst einen unheimlichen, abschreckenden und kranken Eindruck. Dies wird noch verstärkt durch die Verwendung von leuchtend grellen Farben in den die Objekte und Körper gehalten und gegen einen dunklen Hintergrund gesetzt sind. Grobe und dicke Linien stehen sanften, weichen Flächen gegenüber und erzeugen eine inneren Unruhe. Hu Zhipeng spielt mit den Kontrasten und Farben und schafft so eine dramatische Stimmung.
Nicht nur Farben auch Symbole spielen eine wichtige Rolle in seinem Werk. Durch die in China tief verwurzelten Traditionen und seinem Kunststudium entdeckte er die historische Sprache der symbolischen Bildsprache und nutzt seitdem diese Symbolik in moderne Art und Weise. So findet man bei näherer Betrachtung in einigen Gesichtern ein sanftes Lächeln, welches auf das mitleidige Lächeln Buddhas gegenüber dem Mensch anspielt. Weitere buddhistische Elemente lassen sich in den Mudras, den Handhaltungen, der einzelnen Figuren wiederfinden. Der stark mit verschiedenen Gesten spielende Hu Zhipeng rückt die Hände seiner Figuren stets in den Vordergrund, die immer etwas zu greifen oder berühren versuchen und auf einzelne Bildelemente deuten.
Das Essen in den Obstschalen, das Geschirr und die Kerzen lassen nicht nur an eine Zeremonie erinnern, sondern dienen auch als Brücke zur barocken Kunst Europas. Inspiriert von dieser Epoche, die das Essen in ihren Stillleben als etwas besonders schönes glorifiziert sowie eine reiche Farbvielfalt und starke Lichtkontraste aufweisen und ihre Figuren in unnatürlichen Haltungen zeichnete machen Hu Zhipengs Arbeiten auf seine Kritik an der heutigen Gesellschaft laut die viele Parallelen zur Damaligen aufweist.